hard rock

REVIEW: Alice Cooper – “It’s Me” (1994 single)

ALICE COOPER – “It’s Me” (1994 Epic single)

The Last Temptation, Alice Cooper’s acclaimed 1994 concept album, spawned a couple collectable CD singles.  Collectable, because 1) they had unreleased live B-sides, and 2) Eric Singer of Kiss played drums on them!

As far as Alice ballads go, “It’s Me” is not particularly special.  The song fits into the story of the album, but it’s musically in the same vein as the ballads from Trash and Hey Stoopid.  The mandolin is a nice touch, but Alice has more fondly remembered ballads.  “It’s Me” works best as part of the album it was written for.

The two live tracks were recorded in ’91, which actually makes Eric Singer pre-Kiss in this case.  “Poison” is stunning sounding live, but still with rich backing vocals.  The chorus of “Poison” requires several backing singers and Alice’s bands are always equipped for the job.  You can’t tell if Eric Singer is one of the vocalists, but you can easily recognise his style on the drums.  That’s him alright!  “Sick Things” is a strange one live; always has been.  Here, it is inflamed by guitarists Stef Burns and Pete Freezin’ (Freisen).

Alice’s CD singles were hard to find in the early 90s, but thanks to the internet you can get them affordably.  If you’re a Kiss collector, this is one to consider.  If not, just enjoy a snapshot of Alice live during an era that is so far undocumented by a live album.

3/5 stars

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#768: Scanning the Notebooks

GETTING MORE TALE #768: Scanning the Notebooks

Mrs. LeBrain and I have been downsizing of late, and getting rid of old stuff we don’t need anymore.  In the process we have discovered lots of cool treasures we have been hanging onto.  In the last few months I’ve shown you a treasure trove of cassette and VHS rediscoveries, and things keep turning up all the time. The lady that helped us downsize, Elanda, didn’t understand why I needed to hang onto old yearbooks and CDs.  This kind of thing is important to me.  I’ve built an entire series of stories on nostalgia!  Preserving this stuff, to me, is preserving musical history.  It’s a part of the extended story of these bands.  It’s my autobiography.

Another great place to find old treasures is the parents’ basement.  I didn’t realize they hung on to some of my old, beat up highschool notebooks.  The covers are falling off, but like an archaeologist, I have to preserve this stuff for posterity.  Look what I found!

I didn’t just scribble band logos on my notebooks.  I painted them on.  My mother had a basement full of paints for her ceramics classes.  I had access to all the brushes, colours and textures you could ask for.  Most of the paints I used were water soluble, so I probably sprayed this binder with a clear coat to protect the paint.  30 years later, my artwork is still about 90% intact.

The Van Halen, Def Leppard, Dio, and Van Halen logos are self explanatory.  Look a little further.  I took the trouble of drawing Ratt’s titular mascot using three colours, including silver for his sunglasses.  The lightning bolts here are there are meant to be a reference to Frehley’s Comet.  (From looking over my homework inside, it seems I also signed my name with a lightning bolt.)  In the bottom front corner of the binder, “Dawn Was Here” was written on there by one of my sister’s annoying friends who took ceramics class at our house.

Digging inside, I discovered that I clearly put more effort into the front covers than my English homework.

Next to the very bored notes about American literature are more logos, more lightning bolts, a few grim reapers, and designs for multi-neck guitars.  More rats!  Cartoon portraits of Gene Simmons (no makeup; it was 1988) and Rob Halford.

Judging by my careless scribbles, it seems I was not a fan of Huck Finn.  The notes in English class are not legible and it looks like I didn’t do much homework.  That’s not to say I wasn’t working hard in class.  Some of the best sketches came from English class.  I obviously spent a lot of time on some of them.  A page called “Scenes of Death” looks alarming at first, until you look a little closer and notice that one guy is getting jumped by a giant Schnauzer.

 

And, of course, a giant page of logos.

Everyone had the giant page of logos.

Bob Schipper had the idea of calling our “band” Paragon.  “Not Paradox,” he stressed, “but Paragon.  It means we’re among the best.”  Our logo is the centerpiece of the page, coloured in yellow highlighter.  The entire page is like a “Where’s Waldo?” of bands and references.

My science and history notebooks are much cleaner.  Fewer band logos, more meticulously taken notes.  Still,  found of portrait of Satan in my History book.  I was trying to copy the style of Derek Riggs.

I’m grateful my mom and dad hung on to these books.  It makes up for my dad throwing out my Chopper Strike board game and damaging my ZZ Top Eliminator model.  There is still a ton more stuff at their place for me to go through, including a mountain of cool T-shirts that I forgot I owned.  My original Judas Priest shirt is there, the one that got me in trouble at Catholic school.  Imagine if ol’ Mrs. Powers at the Catholic school had seen my later Satan drawing!  I’m certain it would have raised concern and probably a meeting with my parents.

I’m glad I switched out from a Catholic grade school to a mainstream high school.  My logo and Satan drawing skills certainly flourished there, even if my appreciation for Huck Finn did not.

 

REVIEW: Helix – Icon (2018)

HAPPY CANADA DAY from LeBrain and Superdekes! HELIX double feature!

HELIX – Icon (2018 Universal vinyl)

New Helix vinyl?  Yes please.

The Icon series of compilations used to be a budget CD line that you could pick up for $5 or under.  Now, you can even get ’em on vinyl.  Buy ’em direct from Helix mainman Brian Vollmer and he’ll sign it for you.  This copy is signed by all five current Helix members, including a pre-injury Fritz Hinz.

As far as Helix compilations go, you can’t do much with just 11 tracks.  Even so, Icon has some surprises and plenty of pleasers.  There’s also enough difference from 2016’s compilation Rock It Science to justify it.  Opening with the one-two punch of “Rock You” and “Heavy Metal Love”, Helix top loaded this thing with their best known songs.  Perfect for the newcomer, or just a great party.

From there it’s “The Dirty Dog”, a long time Helix concert favourite.  This is followed in quick succession by some great singles:  “Gimme Gimme Good Lovin'”, “Wild in the Streets” and the dark ballad “Deep Cuts the Knife”.  All three songs are considered to be Helix classics.  “Deep Cuts the Knife”, written by guitarist Paul Hackman, is a particularly powerful ballad.  The entire first side is from the Capitol Records years, featuring the best known Helix lineup:  Vollmer, Hinz, Hackman, Brent Doerner and Daryl Gray.

Side two has a different flavour.  Only the hit “The Kids are All Shakin'” originates in the 1980s.  This top Helix pop rock track is followed by the Helix of the 90s and today.  “Good to the Last Drop” is another ballad, but much brighter than “Deep Cuts the Knife”.  This is the original album mix, with minimal keyboards.  Then it’s “Runnin’ Wild in the 21st Century”, kicking your teeth in at lightspeed.  The last two songs feature some help from guitarist extraordinaire Sean Kelly.  A razor sharp “Even Jesus Wasn’t Loved in His Home Town” comes from 2014’s excellent Bastard of the Blues.  The aggressive rocker is based on the fact that Helix can’t even their new songs played on the radio in their home town of Kitchener, Ontario.  Finally, the 2016 single “Gene Simmons Says (Rock Is Dead)” tells the demon where it’s at!  Maybe Helix don’t get radio play in Canada but rock ain’t dead — not if Vollmer and Co. have anything to say about it!

When it comes to Helix compilations, they are so numerous that you can really take your pick.  If you really care about the band, then just buy ’em direct from Vollmer at Planet Helix.  There are loads to choose from, but only this one was ever made on vinyl.  Or, you can just go CD!  Either way, support the boys if you’re gonna buy some Helix.

4/5 stars

REVIEW(S): Helix – Breaking Loose, White Lace & Black Leather (2019 expanded editions)

HELIX –

  • Breaking Loose – 40th Anniversary Expanded Edition (originally 1979, 2019 Prog AOR)
  • White Lace & Black Leather – Classic Hard Rock Expanded Edition (originally 1981, 2019 Prog AOR)

Helix have really done it this year. They have a new album (Old School) made up of some pretty excellent songs that were never completed before. On top of that, you can also get brand new reissues of their first two indi albums, Breaking Loose and White Lace & Black Leather.  Those two albums have already been reviewed in full, so this time we will focus primarily on the perks of these new CD versions.

Both discs feature lyrics, rare photos, and liner notes by Brian Vollmer.  All essential things for a reissue, so what else?  Unreleased tracks, that’s what else.  Good ones!  The hell, Brian?  Where have you been hiding this stuff?  If anyone assumed thought Helix cleared the vaults with their B-Sides album, they were mistaken.  Maybe Universal should have been storing their tapes at Planet Helix….

Too soon?

Breaking Loose features “Let Me Take You Dancin'” (not the Bryan Adams song), apparently the first song they ever recorded, at the behest of manager William Seip.  You can understand why they didn’t put it out, considering the Disco revolution going around.  It’s too dance-y for what Helix wanted to be:  a rock band.  With 40 years hindsight, it’s bloody brilliant.  Full-on horn section blasting away on a blatantly commercial rock song with just a whif of surf rock.  Nothing wrong with any of that in 2019.  “Sidewalk Sally” is the very first Brent Vollmer/Brian Doerner composition and you can tell by Dr. Doerner’s trademark chunky riff.  This song is strictly outtake quality, but it’s notable for historic reasons (and the pretty advanced drumming by Brian Doerner).

The second album, White Lace & Black Leather, has two interesting bonus cuts as well.  Brent Doerner wrote and sang a killer tune called “When the Fire is Hot”, which is one of the songs submitted to Capitol that got them signed.  It’s never been released.  It’s a very unpolished demo, but with a serious stomp and stunning guitar solo.  The final bonus track is an unreleased early version of “White Lace & Black Leather”, which was re-recorded for their third album No Rest for the Wicked.  See, for the first couple Helix albums, you had to wait until the next record to get the title track!

A brief talk about the albums themselves:  both are chock full of great, unpolished youthful rock.  Helix were just learning how to make records, but they had more than enough original material.  Between the key songwriters (Paul Hackman, Brian Vollmer & Brent Doerner), they had plenty of quality songs.  “Billy Oxygen”, “I Could Never Leave”, “Here I Go Again”, “You’re a Woman Now” and “Wish I Could Be There” from the first album alone are must-haves.  Nobody should be forced to live their life without hearing “Billy Oxygen”.  The second LP was almost as great as the first.  “It’s Too Late”, “Breaking Loose”, “Mainline”, and “It’s What I Wanted” stand with the best material from the first.  Sure, the band were rough around the edges, but they could already sing, play and write.  They were goin’ places!

As for the mastering job, the music is not brickwalled like the versions of some songs on the Rock It Science CD.  These discs are the versions to get; the expanded tracklist making them musts to the collecting fan who already own them all.  Best of all, Planet Helix is offering them and the new Helix album for just 40 bucks.  40 bucks for 3 CDs is a ridiculous deal.  I daresay these two albums have been steady companions to me over the years, and I look forward to re-enjoying them in this new form.

5/5 stars for Breaking Loose

4/5 stars for White Lace & Black Leather

 

REVIEW: Dokken – Tooth and Nail (1984)

DOKKEN – Tooth and Nail (1984 Elektra)

Dokken always served up large helpings of cheese. Within the framework of 80s hard rock, their second album Tooth and Nail has been elevated to the status of classic.  Produced by Tom Werman and armed with nine great songs, Dokken were poised to move on to the big leagues.

The brief instrumental opener “Without Warning” leads directly into the full speed chug of “Tooth and Nail”.  George Lynch was the obvious star on guitar, but “Wild” Mick Brown certainly blows the doors off with his high speed drum work.  Don Dokken could hit the high notes when required, aided and abetted by bassist Jeff Pilson.  The quartet could go hard or soft, or right down the middle.  “Just Got Lucky” is perfect in the centre.  Not too heavy, boasting a chorus that sticks, and a fiery hot guitar solo.

The lesser known “Heartless Heart” gets by for its Lynch chugging, though its chorus is left wanting.  Even chuggier:  “Don’t Close Your Eyes”, which Lynch leaves a smoking ruin:  Don screaming over the wastes left behind by the incessant rocking.  And that’s side one.

Dokken were especially good at slower, heavy songs.  “When Heaven Comes Down” is one of those.  Lynch’s riff holds the fort while Don conjures apocalyptic imagery.  Then a classic:  “Into the Fire”.  This song has it all.  The chorus and riff are topped only by a killer middle eight and a flammable solo.  You can pass on the cliche “Bullets to Spare” which sounds like a Quiet Riot B-side.  But don’t miss “Alone Again”, one of the best ballads from the entire decade.  It defines the term “power ballad” all by itself.  From the words, to the melody, to the legendary Lynch solo, “Alone Again” sounds as good today as it did then.

Finishing it off you’ll get the incendiary “Turn On The Action”, a cross between Van Halen, Motley Crue, and 2/3rds of the Sunset Strip.  It’s a good closer, but derivative and absolutely a product of its time and place.

Tooth and Nail is two or three songs shy of 5/5 rating.  Though you may debate it among yourselves, Back For the Attack and Dysfunctional are superior albums.  Tooth and Nail, however, has something they don’t have, and that is a high percentage of Dokken concert classics.  “Alone Again”, “Just Got Lucky”, “Into the Fire” and “Tooth and Nail” are all cornerstones of a Dokken collection.

4/5 stars

REVIEW: Aerosmith – Unplugged 1990

AEROSMITH – Unplugged 1990 (2017 Zap City broadcast CD)

When Aerosmith’s MTV Unplugged aired in Canada, we didn’t get the whole show.  We only got about half.  Now thanks to easily acquired broadcast CDs, you can get all 14 tracks in one handy place.  Because MTV were rigid about things being 100% live, you’ll get none of the annoying backing tracks that Aerosmith use today.  That makes Aerosmith Unplugged a strong contender for the best live Aerosmith purchase since Classics Live II.

“Hangman Jury” is a natural for an opener, and actually superior to the Permanent Vacation album cut.  “Monkey On My Back” is more surprising, being a heavier groove from Pump.  Deconstructed as an acoustic jam, it lays it down hard.  The first surprise of the night comes from the Air America soundtrack, to which Aerosmith contributed their Doors cover “Love Me Two Times”.  Frankly the unplugged version is better.  Tyler gets to honk on the harmonica and tear it up on the vocals a bit.

The first step back into Aerosmith’s past is 1974’s “Seasons of Wither”.  When this set was recorded in 1990, only people who owned Get Your Wings would really have known this song.  The purity of the unplugged stage is the ideal setting.  Then it’s onto 1975 and “Big Ten Inch Record”, the old R&B classic they covered on Toys in the Attic.  The album version with full horns is rearranged into an acoustic shuffle with individual guitar solos by Brad Whitford and Joe Perry.  That’s all before Thom Gimbel shows up with his sax!   This version kills.

Going even further back in time, Aerosmith pull “One Way Street” from the first album featuring a cool Perry solo.  For serious fans, “Smokestack Lightning” is a treat because Aerosmith have never recorded it before.  The oft-imitated Howlin’ Wolf cover is a natural jam for them.  They they unload the heavy artillery exactly halfway into the set:  “Dream On”.  Arguably the song everybody was waiting to hear; easily a highlight.  Playing with minimal instrumentation is a wise way to do it, though it picks up steam at the end.

“Milk Cow Blues” is rolled out next, a rarely played number from Draw the Line.  Full steam ahead just like the album version, you don’t wanna be standing on the tracks when this one rolls by.  Then, as if you’re daring them to try one that fast again, it’s “Toys in the Attic”.  Tyler and Perry’s voices blend naturally together in the unforgiving unplugged environment.

Returning once more to the first album, “Walkin’ the Dog” is the fifth of six cover tunes and the first encore.  It’s particularly cool because you get Tyler playing flute.  “Train Kept-a Rollin'” from Get Your Wings is the final cover, though presented twice:  “fast” and “slow” versions.  For a solid thrills-per-second ratio, you gotta go for the fast take.  Finally “Last Child” is announced to the excitement of one really hyped guy in the crowd.  The funky classic works surprisingly well.  A highlight from a show of nothing but highlights.

The CD had a few sonic clicks and quirks that may vary player to player.  That would be its only flaw.  Anyone buying broadcast CDs should be prepared for less than perfect audio.

4/5 stars

#760: Eliminated Headlight

GETTING MORE TALE #760: Eliminated Headlight

As children, we were told many stories of what being a kid was like in the 1940s and 50s.  The greatest toy was Mecanno.  (My dad’s Mecanno #7 set was a treasured possession.)  Movies were 12 cents on Saturdays, and you could stay as long as you like.  (Once my dad went to go see Red Rider with his pal Jerry Irwin.  He stayed for four — well, three and a half — showings.  Then his father phoned the theatre looking for him, as he was supposed to home a long time ago!  Boy did he catch hell at home!)  One thing my dad always emphasized to us was how sad he was that all his childhood toys were gone.  His little brother wrecked some, and his dad threw out the rest.  He says they’d be priceless today.  All gone; somewhere in a Guelph landfill.

When kids move away from home, they don’t take everything with them.  Things like old toys get left behind.  That’s how my dad lost all his stuff.  I had trust in him that the same wouldn’t happen to me, and my sister.  The number of times we had to hear about his lost toys, his Mecanno #7 set, and all that stuff…I assumed he wouldn’t do that to us.

I assumed incorrectly.

A few months ago my sister was over at his house, went down into the basement to look at the board games…our old childhood board games…and they were gone.

We found some of them in a storage bin, but the rest had been thrown out.  That included my copy of Chopper Strike, a turn based combat strategy game that came with intricate little pieces and a massive two-level board.  I bought it at a garage sale for a couple dollars in the early 80s.  It was complete.  The game came with an army of plastic jeeps and helicopters.  The copters had rotating blades, and the jeeps had moving anti-aircraft guns.  Lots of easily lost components.  Rare for an such an old game (1976).  We played it over and over and over again as kids.  I thought it would remain safely stored at the old house.  It cost over $50 to replace it with a complete one again (thanks, Mom).

At least my dad saved some of the obviously valuable games, like our original Star Wars and Transformers.  Everything else from Admirals to Careers ended up in the trash, lost forever.  Feeling bad, my mom bought my sister a new Careers game on Ebay (and replaced my Chopper Strike).

I thought that was it.  I thought the point was made.  I thought our possessions were safe again.

Wrong again.

Some of my old model kits are at the cottage.  The cottage is a great place to build a model.  My ZZ Top Eliminator kit has safely lived at the cottage for 30 years.  A few years ago I took it out, dusted it off, and secured a few loose pieces with glue.  The last time I saw Eliminator, it was fine.

This time, I noticed a few things on my shelves had been moved.  When I returned them to their proper places, I saw Eliminator was now a one-eyed cyclops car.  A headlight came off and was nowhere in sight.  It’s gone.  If it had simply fallen off, it would be on the shelf, next to the car.  I only had two suspects.  One of the two was more credible, while the other claims to know nothing.  I know it was my dad!

“You can always pretend it was in an accident,” said my sister.

I used to think my stuff was safe in the hands of my dad.  Now I realize I need to keep valuables far, far away from him!

REVIEW: The Sword – Greetings From… (2017)

THE SWORD – Greetings From… (2017 Razor & Tie)

This is one clean sounding live album.  Yes it’s live, and you can tell, but there’s not a lot of crowd noise or wasted time.  Opening with a full-on “Buzzards”, The Sword sound made for the stage.  The Sword may not have invented the guitar riff, but they have certainly mastered the art of creating them.

“The Chronomancer I: Hubris” (from Warp Riders) has a slower Sabbathy groove circa Ozzy, but rendered heavier on the metal scale.  They’re tight live, but there’s a certain rock n’ roll loosey-goosey vibe on this album as well.  “Maiden, Mother & Crone” is another hot riff, amplified by the live environment.

New material is rolled out, with “Tears Like Diamonds”, “Mist & Shadow”, and “Agartha” presented in sequence.  “Tears Like Diamonds” combines hook and groove into one steamrolling song.  The heaviest track could be “Tres Brujas” from the third album which flies at Warp speed.  Then they go into a cover of “John the Revelator” which works amazingly well as a heavy metal celebration.

The only track to appear from the debut Sword LP is “The Horned Goddess”.  It ends a pretty steady onslaught of riffs with…even more riffs.  If you’ve endured it, congratulations — you just might be a rocker!

No fluff, no filler.  Greetings From… flies by just as fast as the spaceship on the awesome cover art.

4.5/5 stars

Gallery: Cheap Trick, Kitchener Ontario, 6/10/2019

Dr. Kathryn saw Cheap Trick at the Centre in the Square and has returned with photographic proof.

Comments:

“Cheap Trick were great! They played for about an hour and a half straight with no encore. It was a good mix of old songs and new. There were a bunch in the middle I didn’t know. Robin Zander can still sing pretty well, but his shortcomings were very obvious when he started to sing ‘The Flame’ with just himself on guitar. When he has all the other players behind him, his voice sounds much better and you can’t hear where he’s lacking. There was an extra guitar player (Robin Zander’s son Robin Taylor Zander) in the back and Tom Petersson played a twelve string bass. Rick Nielsen threw picks into the audience and I caught three!  Looking back, I didn’t get any close ups of Robin Zander! He was right in front of me plenty.”

Setlist:

  • Hello There
  • Way of the World
  • Oh, Candy
  • Big Eyes
  • California Man (The Move cover)
  • On Top of the World
  • Stiff Competition
  • Downed
  • Ain’t That a Shame (Fats Domino cover)
  • High Roller
  • Lookin’ Out for Number One
  • Stop This Game
  • I’m Waiting for the Man (The Velvet Underground cover)
  • The Flame
  • I Want You to Want Me
  • Dream Police
  • Surrender
  • Clock Strikes Ten
  • Goodnight Now

REVIEW: Raw M.E.A.T 3 – Various Artists (1992)

RAW M.E.A.T 3 (1992 M.E.A.T Magazine)

It took a while to be able to review this CD for technical reasons.  From day one, this disc would not play smoothly in any computer.  Most CD players could handle it, but no PC could without skipping horribly.  Independent CD production had iffy quality in the early 90s.  Now using external components I’ve finally been able to rip the album to PC.  I have not played some of these songs in decades!

Raw M.E.A.T 3 was different from the first two volumes.  The first focused on hard rock, the second on thrash.  One band from Raw M.E.A.T 2 went on to big things, that being Varga.  Volume 3 combined all genres of heavy music together on one disc.  From the heaviest of bands (Mindrape, Sinister Fiend, Hanker, Vertical After) to pop rock hooks (Deadline, Raw Trixx, Tryton) and progressive (Destiny, Justin Sane), all bases are covered.  The bands span several provinces from British Columbia to Quebec, whereas the first CD only had groups from southern Ontario.

Highlights are numerous.  Perhaps Russian Blue came in strongest with opener “Mama’s Love”, a modern twist on hard rock.  Deadline were right up there too, with a re-recording of “Friction Addiction” from their excellent first CD.  Raw M.E.A.T 3 is the only place you can get the re-recording, which is slicker and punchier than the original.  Tryton, the only female-fronted band, kicks serious ass on “Burning the Cradle”.  Singer Nina Zzo had the lungs for it!  (They later made an album as Loudshine.)  “A Wonderful Day” by Tempted Fate is another genius track, sounding a bit like “When Death Calls” by Black Sabbath before exploding into a punk rock chorus.

It’s a very diverse CD.  The bands Raw Trixx and Stone Valley both put in strong entries with “Time” and “Forever Gone” respectively.  These groups employ older hard rock sounds in spite of the changing tides of rock.  Slam Glory’s “Say It Like You Mean It” also fits that mold.  Fans of early Queensryche and Scorpions might enjoy Destiny’s “Man Alone” which brings to mind the trademark sounds of those bands.  Old-school thrash fans will dig the traditional speedy chug of Hanker and Vertical After.  The Cult-like No Morals had an enjoyable, unconventional 90s edge.  For Faith No More funkiness, it’s Sinister Fiend.  Overlord’s “Never Enough” has a tough metal punch but with punk-like recklessness.  “And if I sound bitter, it’s because I am!”  Even Christian rock makes an appearance.  Thunder Rider’s “For Christ’s Sake” isn’t bad, but the Quebec band had an early unfortunate image including swords, shields and hammers.

My favourite track of them all is “Illusion” by Justin Sane, which should have become a massive hit in 1992.  The four piece band combined modern metal grooves with quality lead vocals and musicianship to create a nearly seven-minute behemoth of a song.  It was recorded (like several of the songs here) at the renowned Metalworks Studios in Mississauga.  Shame the band had a jokey name, as it does not accurately depict their music.  There is a Justin Sane EP out there, reissued in 2006 as a split album with a band called Native Tongue, but it’s impossible to find.

I also approve of the names of the members of Vertical After:  Kick, Stu, Rhys and Odd.  I definitely want to be friends with anyone named Odd.

For the variety of quality hard rock, heavy metal and miscellaneous good stuff, Raw M.E.A.T 3 serves as an enjoyable listen and gateway to some bands you’ve never heard of before.  Off to Discogs to look for more!

4/5 stars